Both African writers and literary critics have long used the ideology of "Négritude" and the political commitment it generated as the theoretical basis for their works. However, since independence in Africa, this common practice started to lose momentum due to a shift in the social and political realities. Furthermore, in recent decades, new generations of African writers have moved away from the "Négritude" movement's beliefs. Nevertheless, there are still some nostalgic writers and critics who cling to this historic movement that shaped African literature and thought for half a century. The above two trends paved the way for my starting hypothesis: is it still possible to evaluate what Abiola Irele calls the "African imagination" in the narrative, and especially novels, without the traditional criteria of political commitment and ideology? To answer this fundamental question, I define my analytical method as a "politiscopie." This neologism is formed in the image of the word "radioscopie." "Politiscopie" combines the stem for politics, "politi-," with the suffix "-scopie," from the Latin scopium (instrument for viewing) and the Greek skopein (to look at). And I define "politiscopie" as the analytical examination of political discourse in literary text. This examination is stripped of the conscious or unconscious analytical tendency that I call "l'humeur idéologique des critiques," or "the ideological mood of critics. "This dissertation is divided into two parts and an introduction, in which I define political discourse based on L'archéologie du savoir by Michel Foucault. The first part--chapters one and two--is a "politiscopical" examination, an examination of political discourse in African novels since 1990. I discuss the explicit and implicit political discourse present in the considered novels. In the second part--chapters three and four, I attempt to tease out the triangular relationship between Africa, the writer, and the relevant political realities. I investigate the political representation of Africa by the new generations of African writers, and then I look at the impact of distance on those writers to see whether the location of the authors--abroad or on the African continent--affects the way they treat African political debates.

Both African writers and literary critics have long used the ideology of "Négritude" and the political commitment it generated as the theoretical basis for their works. However, since independence in Africa, this common practice started to lose momentum due to a shift in the social and political realities. Furthermore, in recent decades, new generations of African writers have moved away from the "Négritude" movement's beliefs. Nevertheless, there are still some nostalgic writers and critics who cling to this historic movement that shaped African literature and thought for half a century. The above two trends paved the way for my starting hypothesis: is it still possible to evaluate what Abiola Irele calls the "African imagination" in the narrative, and especially novels, without the traditional criteria of political commitment and ideology? To answer this fundamental question, I define my analytical method as a "politiscopie." This neologism is formed in the image of the word "radioscopie." "Politiscopie" combines the stem for politics, "politi-," with the suffix "-scopie," from the Latin scopium (instrument for viewing) and the Greek skopein (to look at). And I define "politiscopie" as the analytical examination of political discourse in literary text. This examination is stripped of the conscious or unconscious analytical tendency that I call "l'humeur idéologique des critiques," or "the ideological mood of critics. "This dissertation is divided into two parts and an introduction, in which I define political discourse based on L'archéologie du savoir by Michel Foucault. The first part--chapters one and two--is a "politiscopical" examination, an examination of political discourse in African novels since 1990. I discuss the explicit and implicit political discourse present in the considered novels. In the second part--chapters three and four, I attempt to tease out the triangular relationship between Africa, the writer, and the relevant political realities. I investigate the political representation of Africa by the new generations of African writers, and then I look at the impact of distance on those writers to see whether the location of the authors--abroad or on the African continent--affects the way they treat African political debates.

en_US

dc.type

Electronic Dissertation

en_US

dc.type

text

en_US

dc.subject

Africa

en_US

dc.subject

african novels

en_US

dc.subject

civil wars

en_US

dc.subject

Immigration

en_US

dc.subject

Literature

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dc.subject

Political Discourse

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thesis.degree.name

Ph.D.

en_US

thesis.degree.level

doctoral

en_US

thesis.degree.discipline

Graduate College

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thesis.degree.discipline

French

en_US

thesis.degree.grantor

University of Arizona

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dc.contributor.advisor

d'Almeida, Irène A.

en_US

dc.contributor.committeemember

Bourget, Carine

en_US

dc.contributor.committeemember

Beck, Jonathan

en_US

dc.identifier.proquest

11619

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dc.identifier.oclc

752261477

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